Review: ‘Punks’

Just about everything in helmer-penned screenplay echoes elements in other recent queer comedies, but the evident joy in translating those conventions to a primarily black social context is giddy and infectious. Things start off naughtily with leads, poolside avec cocktails, rating the bed-worthiness of various showbiz names, from Ricky Martin to Busta Rhymes. Even homophobia-spewing rap icons get dished or dissed. After all, it's West Hollywood --- what else is there to talk about but celebrity sex appeal?

Just about everything in helmer-penned screenplay echoes elements in other recent queer comedies, but the evident joy in translating those conventions to a primarily black social context is giddy and infectious. Things start off naughtily with leads, poolside avec cocktails, rating the bed-worthiness of various showbiz names, from Ricky Martin to Busta Rhymes. Even homophobia-spewing rap icons get dished or dissed. After all, it’s West Hollywood — what else is there to talk about but celebrity sex appeal?

Cheerfully over-the-top as a unit, the quartet doesn’t seem quite so happy in private. Chris is letting an outsize ego break up her lip-synch ensemble, which performs tracks by glittersome late-’70s disco group Sister Sledge at the club where everyone hangs out. Moving into Marcus’ pad, Hill outwardly revels in revisiting single life. But when not kicking last night’s pickup outta bed, he pines for a duly chastened Gilbert.

Diversionary flirtations, a health scare for HIV-positive Hill and plenty of wildly costumed production numbers by Chris’ group fill a brisk but predictable narrative before several inevitable occurrences. Last lap could be tighter, and epilogue a bit punchier; there’s scant surprise in climactic “revelation” re Darby.

Still, pace is consistently lively, performances winning, if a tad overpumped in early going. Production’s A-list connections are evident in the starry soundtrack roster exec producer “Babyface” Edmonds has assembled, as well as in clips of gay-friendly R&B divas Diana Ross (in her ’75 glam-apex screen vehicle “Mahogany”) and Janet Jackson. Lensing and other tech-package aspects are solidly pro, though more stylish design contribs might have shot pic’s considerable energy even higher.